Sunday, July 31, 2022
Continuing where I left off yesterday in the National Gallery, here we have Enduro Take Off, a 1958 painting by Tom Hodgson.
Two works by a master of First Nations art hang together. Norval Morrisseau was an Anishinaabe artist, and at left we have Untitled (Child), circa 1971. At right is Untitled (Shaman), also from that period.
Another work by Morriseau, dating to 1980: Artist And Shaman Between Two Worlds.
Jean Paul Lemieux painted The Visit in 1967.
Woman At Clothesline was done from 1956-57, featuring his wife Rhoda.
Rhoda returns here, with the artist behind her in this 1965 painting, To Prince Edward Island.
Alex Janvier, a First Nations artist living out west, paints in an abstract way influenced strongly by his indigenous roots. This is Alberta Blues, from 1966.
Kitchen Door And Esther is a 1965 painting by Christine Pflug.
Another work by Pflug. Cottingham School In Winter I is from 1968, depicting the view from her Toronto apartment.
I leave off today and the Canadian galleries as a whole with another Norval Morriseau work. Done circa 1960-66, this is Spirit Of The Shaking Tent: Mikkinak. Tomorrow we break for the theme day, but after that I'll start off with art from the world.
Saturday, July 30, 2022
I start today with a portrait of an artist and her works. Gesture And Elizabeth is the title of this 1936 painting by Gordon Davies.
This is Gesture by Elizabeth Wyn Wood
Lawren Harris of the Group of Seven moved into a more stylized, abstract field as his life went on. This is Abstraction, dating to 1939.
Lighthouse, Father Point is another Harris work, from 1930.
Two works by the same artist are together. Carl Schaefer painted Ontario Farmhouse in 1934.
Summer Harvest, Hanover dates to 1935.
Over time, works by Inuit and other indigenous artisans have come to be rightfully seen as art, and display cases here contain a multitude of sculptures.
I leave off today with this unusual work. Pavane is by Jean Paul Riopelle, and dates to 1954
Friday, July 29, 2022
Edwin Holgate came into the circle of the Group of Seven late in their years of exhibiting together. Here we have his painting, Totem Poles, Gitsegukla, a 1927 painting.
Here we have another work by Emily Carr. Totems dates to around 1930.
In a display case are several pairs of Indigenous moccasins and other footwear.
Memalilaqua, Knight Inlet is the title of this 1912 painting by Carr.
Two portraits of the same woman with the same name: Vera. Done in 1929 and 1930, they are by F.H. Varley of the Group of Seven, and feature his muse Vera Weatherbie.
Myself is a 1933 self portrait by Paraskeva Clark.
I finish today with two portraits by the same artist, Lilias Torrance Newton. Portrait Of Frances Loring dates to around 1942.
Here we have her Self Portrait, done in 1929.
Thursday, July 28, 2022
We begin today with Girl On A Hill, a 1928 painting by Prudence Heward.
More work from the Group of Seven. A.Y. Jackson painted The Beothuk At Bache Post, Ellesmere Island in 1929.
Two more Jacksons are here. At top is Cocked Head Island, from 1930. Below is Camp Mile 108, West Of Whitehorse, from 1943.
This is a Tom Thomson sketch. Northern Lake is from around 1912.
And this is Northern Lake II by Lawren Harris of the Group, dating to 1926.
Two works by the same First Nations artist, Ellen Neel. This is Model Pole.
Beside it and facing the other way is First Man Mask.
Emily Carr is often closely associated with the Group of Seven. She found her inspiration in the landscapes of the Pacific Northwest and the First Nations cultures found there. This is her work Something Unnamed, dating to 1937.